Rajyalakshmi Seth Annotated Bibliography on Kuchipudi Dance Sources* The initial study of the topic for my Ph.D thesis1 indicated a need to compile the various sources that have information on Kuchipudi, especially those in Telugu language, which are not easily accessible to English speaking researchers and readers. A critical survey of the literature has been done in order to prepare a database to study the development of Kuchipudi dance tradition in a historical and analytical perspective. This database that provides an overall view of Kuchipudi dance tradition as it was practiced in the past as well as in contemporary times was presented in the format of annotated bibliography was submitted as a part of the project report to The Asiatic Society of Bombay, Mumbai for the Justice K.T. Telang Fellowship in Indology (1996). The content presents the review of literature on Kuchipudi sources in Telugu and English. The contributing factor in the annotated bibliography is that the gist of all the documented sources in Telugu have been first translated into English and then analyzed. Though the annotated bibliography is not to be considered as exhaustive, but most of the major and significant writings available in India have been included. The translation, compilation and analysis can claim to be one of the rare and few research works not only in regard to Kuchipudi literature but even in dance literature on performing arts and also in other subjects. Considering the transformation that took place in the Kuchipudi dance tradition in the course of the Twentieth Century, the content analysis for the annotations focuses on the following changes: •evolution of a solo format from the Seth original dance drama tradition; * The bibliographical references are given in the format proposed by the author. The references of the online documents were all verified on December 29, 2016 [editor’s note]. 1 Seth, Rajyalakshmi, PhD thesis titled The Changing contours of Kuchipudi dance: A Sociological study, Department of Sociology, University of Mumbai, Mumbai, 2005. «Danza e Ricerca. Laboratorio di studi, scritture, visioni», anno VIII, numero 8, 2016 DOI: 10.6092/issn.2036-1599/6625 208 Rajyalakshmi Seth •the shift from the rural stage and ritual performances in temple premises to public in urban areas; •the entry of women dancers into the tradition which had for centuries allowed only males; •the emergence and growth of performers from non-hereditary families, and also from outside Andhra region as well as non-Telugu audience; •subsequent changes in the lyrical content and music used in both the Kuchipudi dance-drama tradition and the solo dance format. The compilation is the outcome of a critical survey of dance literature and the content of various sources is included in this format of an annotated bibliography with an objective to describe the development of Kuchipudi dance tradition in both historical and analytical perspective. The focus is on the development and changes in the Kuchipudi dance tradition taking into consideration the linkages Kuchipudi dance had with the two aspects of social life: religious milieu and royal patronage in the context of changing cultural, social and political conditions. The examination is done in comparison with the other dance traditions like ritual dances at temples called Aradhana or Devalaya nrityamulu and folk theater forms like Veedhinatakam and Pagativesham that continued to be practiced in Andhra. The annotations present an overall view of Kuchipudi dance tradition as it was practiced in the past as well as in contemporary times. The compiled information and the references to various published works can be useful as a reference manual to the researchers and dancers for locating information on any concepts, interpretations and technical terms used in Kuchipudi dance performance as well as in the learning process. In addition, the annotations, especially those works in Telugu, will familiarize the non-Telugu speaking reader with the many aspects and elements that Kuchipudi contains. Kuchipudi dance seems to have not received its share of recognition as a classical dance style in the so far documented and published material as compared to other classical dance styles i.e., Bharatanatyam, Kathak, Kathakali, Manipuri, Odissi, and Mohini Attam. Many books on Indian classical dances published till as late as 1980s did not feature Kuchipudi. One needs to explore Annotated Bibliography on Kuchipudi sources 209 whether this is due to the fact that the best documentation of sources on Kuchipudi is in Telugu, and hence not enough material has been available to non Telugu writers on dance traditions in general, to help them come to conclusions on the nature of Kuchipudi dance tradition. The annotated bibliography, besides providing a list of source books on Kuchipudi which are otherwise scattered, most of which are in Telugu, gives an overview of various aspects, issues, facts that are discussed and highlighted by various scholars, artistes, dancers and art connoisseurs in order to establish the events that facilitated the evolution and development of Kuchipudi dance tradition from the medieval period to the last decade of the Twentieth Century. This annotation is intended to focus on Kuchipudi dance tradition in a historical perspective and the period chosen for this purpose was till mid 1990s when the sources on dance literature on Kuchipudi dance was scanty and scattered. Later from early 2000 the dance literature increased multi-fold with the development of modern technology and computer network and so on which became accessible. But the sources covered here comprise rare reference material so inclusion in this paper will throw light on the perspectives and opinions, arguments of scholars, art historians and dance practitioners of the last Century. 1. Acharya, C.R. Andhrula natyakala ounnatyamu [Prosperity of dance traditions of Andhra people], Natyakala, Andhra Pradesh Sangeet Natak Akademi [henceforth referred as APSNA], Hyderabad, December 1964, pp. 2-4. Out of the three main dance traditions classified as Kuchipudi Nrutyam (Kuchipudi Dance), Aradhana Nrutyamulu (Temple-ritual dances) and Janapada Nrutyamulu (folk or regional dance forms) in Andhra region, Kuchipudi developed with a distinct identity having a dance technique that is based on the dance treatises like Natyasastra (henceforth to be referred as NS) and Abhinaya Darpanam (henceforth to be referred as Ab.D). In this article Acharya discusses the nature of Kuchipudi dance repertoire, «Danza e Ricerca. Laboratorio di studi, scritture, visioni», anno VIII, numero 8, 2016 210 Rajyalakshmi Seth the differences in the lyrical compositions and the changes that have been brought into these by the artistes belonging to different regions in Andhra in due course of time. Mentioning about the continuity of the dance traditions, Acharya writes that though some common compositions were performed by different bhagavatulu, not all the dance traditions could be continued as performances. For many an artiste it became difficult to adhere to one tradition and still retain the interest of people. However despite many odds Kuchipudi artistes managed to continue the tradition till today with the contribution, able guidance and leadership of various Kuchipudi exponents and learned scholars. Referring to the two main types of art forms, that is, dance-drama and solo performances in Andhra region, he uses two terms Bharata-natakam for dance- dramas and Bharata-nrutyam for solo-dance performances. Another observation made by Acharya is about the differences in the performances and lyrical compositions in the dance-drama presentations. The artistes, popularly known as bhagavatulu, who performed on themes based on Hindu epics like Bhagavatam, Ramayana and Mahabharata etc. were referred with prefix indicating the place to which they belonged, like, Palagudem bhagavatulu, Sriramavaram Jangam bhagavatulu, Mylavaram Yenadi, Tummalapalli Golla bhagavatulu. Though they all performed same themes and dance-dramas like Mohini rukmangada, Prahalada natakam etc. the language used in the lyrical content was different from another. In the case of Kuchipudi, a dance-drama tradition practiced for more than three centuries exclusively by Brahmins only, the lyrics contained words having high literary value. Whereas in the other traditions the lyrical content was written in a simple Telugu language. Also the dance syllables and the presentation style differed. Some changes can be also noted in respect to the repertoire, lyrical content incorporated in the performances. But at the same time there existed a give and take relationship between the various dance traditions. 2. Acharya, C.R. Kuchipudi natyamu: Chari bhedamulu [Charis-Different body movements in Kuchipudi dance], Natyakala, APSNA, Hyderabad, June 1966, pp. 26-30. Annotated Bibliography on Kuchipudi sources 211 Chari is the technical term used for the movement of hands and feet of the body in Indian dance technique. In this article the author focuses on the significance of chari-s in Kuchipudi dance, especially in the dance composition called tarangam. Both the ancient treatises, Natyasastra and Abhinaya Darpanam define and describe various chari-s in their texts. While the former mentions that these chari-s can be performed incorporating the regional customs and mannerism, the latter defines as to how these movements can be performed. These chari-s are divided into two main groups Akasha (with feet above the ground level)